Alphabet of Spiritual Emptiness (Czech: Abeceda Dusevniho Prazdna) by Zdeněk Tmej is a deeply reflective and introspective photographic project, published in 1946 and capturing the reality of forced labor camps during World War II. Shot during Tmej’s internment in a Nazi labor camp in Breslau, now Wrocław, Poland, this work is an important document of wartime suffering, focusing on the psychic and emotional erosion endured by captives. More than a straightforward documentary, Alphabet of Spiritual Emptiness becomes an exploration of identity, solitude, and survival under systemic brutality, merging Tmej’s personal narrative with universal themes of despair and resilience.
Tmej, among the millions forcibly removed from their homes, turned his camera inward, capturing not only the physical circumstances of forced labor but the intangible, invisible wounds left by captivity. Through his lens, the project reflects the depths of “spiritual emptiness” his generation faced—a void left by lost freedom, fractured lives, and suppressed agency. The work addresses both individual and collective suffering, portraying the psychological impact of wartime captivity often left unspoken.
At its core, Alphabet of Spiritual Emptiness explores themes of isolation, resignation, and the human search for meaning in the face of oppression. Tmej’s images reveal men sleeping on bare floors, hands clenched or holding the last possessions that anchor them to their identities. The absence of explicit action or violence within the frames invites viewers to understand the agony of confinement not just as physical hardship, but as an existential crisis of being.
Aesthetically, Tmej’s black-and-white images convey a layered depth, with subtle gradations of light and shadow that reflect the emotional weight borne by the prisoners. The monochrome palette enhances the desolate tone, with light softly illuminating key details while allowing shadows to evoke the somber and oppressive atmosphere of the camp. His compositions are carefully structured, emphasizing texture and intimacy to draw viewers into the fragile human presence within these stark, confined spaces.
Technically, this work was an extraordinary feat of subterfuge. Tmej managed to capture these images discreetly under severe restrictions, creating a body of work that transcends conventional war documentation. This approach, with its subtlety and attention to psychological space, allows each viewer to perceive the photographs as echoes of suppressed voices, mirroring the deep-seated turmoil of individuals reduced to numbers and routines within the labor system.
Reception has emphasized the work’s rare, first-hand perspective on forced labor and its role in preserving wartime memory. Inclusion in major photobook histories (such as The Open Book and The Book of 101 Books) and the 2011 Errata Editions reprint broadened international access. Key presentations—a retrospective at Prague’s Old Town Hall (later shown at the Silesian Museum, Opava) and visibility at Paris Photo—sustained attention.
